Search results for ""Author Jean-Bernard Ouédraogo""

Le travail d’analyse sociale nous pose toujours la question de la transcription des données et des résultats obtenus. Les modèles canoniques privilégient l’usage de l’écriture orthographique et relèguent souvent les formes d’écritures iconographiques dans la perception sensible, l’allusif et le flou symbolique, à l’extrême opposé de la rigueur démonstrative et argumentative de l’écriture. Dans le processus de production et de diffusion des connaissances en sciences sociales, le moment de l’enquête, en particulier, est une situation de transcription idéale pour examiner le passage d’un ordre de fait à un autre, et pour retracer sa fonction dans le projet scientifique. Cet ouvrage interroge les modalités d’implication de l’image dans la fabrication, la transformation et la présentation des données issues de l’enquête de terrain. La première partie questionne la constitution des mémoires et des identités individuelles et collectives. La photographie se tient au seuil de la mémoire et perpétue une interrogation sur les conditions d’exercice de la mémoire individuelle et collective. La contribution nous rappelle que l’image oblige les chercheurs plus que tout autre mode de présentation à s’interroger sur leur position. La deuxième partie est consacrée à l’épistémologie des images. Que les images soient produites par les chercheurs eux-mêmes ou récoltées lors du terrain ethnographique leur représentation est d’une importance cruciale mais ne va pas de soi. La troisième partie aborde la question de la restitution des données issues de l’enquête de terrain à travers l’analyse des photographies et plaide pour une analyse des rythmes, rare en sciences sociales, afin de saisir les complexités de l’urbanisation globale et de la restituer par les techniques de théâtre grâce à une approche du sensuous scholarship.

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The bilingual, French-English journal Méthod(e)s, founded in 2015, is an African initiative with the objective to enlarge the methodological debates on the Global South. The desire for a strong understanding of methodology is to situate it above academic trends, thereby placing it in line with a universal history of the sciences. Just as calling dominant paradigms into question leaves room for creative opportunities, so does the comparison of theoretical approaches and technical models of data collection. Questions related to methods are not purely technical or merely philosophical reflections. The examination of the method used in scientific investigations necessarily leads us to question the validity and consequences of research results. From this point of view, the journal Méthod(e)s is not a forum for simple discussions on the mechanics of research but a tool to question social interests influencing academic research and giving it a political function. It is also intended to lead to a more critical look at the creation of theories dealing with the status of individuals and societies in Africa and the Global South. Méthod(e)s aims to bring into question, connect, and compare the theoretical, technical, and political foundations of the social sciences as applied to human societies. Each contribution is followed by a summary in the respectively other language. In order to ensure a broad intellectual reach, the editors reserve the right to include articles written in other languages. All the abstracts of the papers are also available in Arabic, Chinese, and Spanish.

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Born in Diourbel on October 5, 1957, Kalidou Kasse is a Senegalese artist, painter, weaver and sculptor whose perspective for the legitimization of African contemporary art has given birth to several prize-winning work and exhibitions all over the world. His unique style of threadlike characters in a background of lively and brilliant colours describes a poetic and charming world painted with a constant concern for forms, details and colours. From a historic point of view, he is the artist who has delicately blended and balanced the art of western pictorial with African aesthetics inherited from his family of weavers. By refusing the representation imposed by western art, he reaffirms an individual form that is original in heralding the art of an emerging dominant force unabashed and unfettered by its past. This groundbreaking book explores the foundations of Kasse's aesthetics and subtly traces the individual trajectory of the painter within the wider collective and historic movement of art on the continent and beyond.Jean-Bernard Ouedraogo is a professor of Sociology is currently the Director of Research at the Centre National de Recherche Scientifique (CNRS) and at the Ecoles des Hautes Etudes en Sciences Sociales (EHESS), Paris, France. He has taught in several universities in Africa, Europe and in North America. He is the author of several works in the field of art in Africa, including Art photographique en Afrique (Harmattan, 2002), Identite visuelle en Afrique (Amalthee, 2008), and Norbert Elias, Ecrits sur l'art africain, (Kime, 2002). From 2002 to 2008, he was Deputy-Executive Secretary of the Council for the Development of Social Science Research in Africa (CODESRIA) in Dakar, Senegal.

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